I really liked Quentin Blake, who did all of Roald Dahl's stuff. I don't think I really got Quentin Blake as a kid, but as I grew older, I really appreciated the kind of knowledge and the skill that went into those seemingly effortless drawings, and I really wanted to capture some of that in my own work.
Ben, there are more important things going on, ' I answered. 'DESIGNATED DRIVER!' 'What?' 'You're my designated driver! Yes! You are so designated! I love that you answered! That's so awesome! I have to be home by six! And I designate you to get me there! YESSSSSSS!' 'Can't you just spend the night there?' I asked. 'NOOOO! Booooo. Booo on Quentin. Hey, everybody! Boooo Quentin!' And then I was booed. 'Everybody's drunk. Ben drunk. Lacey drunk. Radar drunk. Nobody drive. Home by six. Promised Mom. Boo, Sleepy Quentin! Yay, Designated Driver! YESSSS!
This is a feeling that you had, Quentin, she said. Once, a very long time ago. A rare one. This is how you felt when you were eight years old, and you opened one of the Fillory books for the first time, and you felt awe and joy and hope and longing all at once. You felt them very strongly, Quentin. You dreamed of Fillory then, with a power and an innocence that not many people ever experience. That's where all this began for you. You wanted the world to be better than it was.
Could you just imagine? If every suicide rose-think of Faulkner's Quentin Compson as a vampire. I don't hate the South I don't I don't. She wondered how they'd have worked it out in Cambridge when Quentin threw himself off the Andersen bridge into the Charles amid the odor of the honeysuckle, not the beer, sweat, rum, and tainted magnolias of this city, precariously beneath the level of the water. The Compson blood had thinned out; at least this way, he's restore it after a fashion.
Quentin Tarantino is a hip-hop artist. I told him, 'You're hip-hop!' You keep seeing surprises, and a clip here and there, because Quentin is hip-hop. A hip-hop artist will drop a single, leak something over here, and drop something over there 'cause he knows it's hot. He's on the spot with the way he does things.
Now that he was teaching Quentin could see why the faculty didn't bother trying to improve the climate. It kept people amazingly focused... You could actually watch as the determination to seize the moment and live life to the fullest ebbed right out of them, and they resigned themselves to lonely, silent, indoor study instead.
Quentin had an obsolete sailing ship that had been raised from the dead. He had psychotically effective swordsman and an enigmatic witch-queen. It wasn't the Fellowship of the Ring, but then again he wasn't trying to save the world from Sauron, he was trying to perform a tax audit on a bunch of hick islanders...
It is not a biopic; it is not a trawl through the facts of somebody's life. It is more an evening with a Shakespearean clown who speaks the truth and was whipped for his pains. Writing the play made me love and loathe my country more: love it that it could create, and has always created, one-offs like Quentin; loathe it for its rejection of him.
Quentin [Taranino] will say, "We've got it, but we're gonna do it one more time. Why?" And then, the entire cast and crew chimes in and says, "Because we love making movies!" He is a person who celebrates this form of expression, and it is evident in his movies, his conversations, his extensive knowledge about the history of what we do, and the actors and crew that he assembles.
A small-time hoodlum who had spent most of the 1960s at San Quentin State Prison in California, the 30-year-old Bryant claimed that he hijacked Flight 97 under orders from his higher-ups in the Black Panther Party; he said his mission was to arrange for the purchase of bazookas to aid the organization's struggle against oppression.
Brendan I. Koerner
My relationship with Christian Slater is like him and Marisa Tomei in 'Untamed Heart.' 'True Romance' was right when I was beginning to become a fan boy of movies. People forget that he's worked with some of the biggest directors in Hollywood. He's worked with Francis Ford Coppola, Quentin Tarantino, John Woo.
When I make a film, I am hoping to reinvent the genre a little bit. I just do it my way. I make my own little Quentin versions of them... I consider myself a student of cinema. It's almost like I am going for my professorship in cinema, and the day I die is the day I graduate. It is a lifelong study.
I discovered very soon, especially for movies, because I started in theater, that every director has his own universe. You have to be free enough to try to understand what he wants from you. Especially when that director has a tremendous personality. And I'm talking about people like Pedro Almodovar and Robert Rodriguez and Quentin Tarantino and Woody Allen. And you have to adapt. If you don't adapt to them, you are off the thing.
I once heard that Quentin Tarantino, who I obviously love and think is a genius, says that there's no such thing as guilty pleasure, there's only pleasures. And I do love that idea, because I do think that there's a pretentiousness when people make a list of their favorite things. I like to live a life where I don't think of my pleasures as guilty pleasures.
Shooting at Quentin Tarantino movie was like a masterclass in directing. Although I went back literally right into rehearsal, started shooting... while I was doing it I had to write my Grindhouse trailer and I added two days of shooting. My brother was producing Hostel and the Grindhouse trailer and I was like: "Gabe, just figure this out!"
I like the way Quentin Tarantino creates a scene using a series of close-ups or showing very cool images of a person or people walking on some ordinary street in slow motion. I wish I could achieve that kind of slow-motion effect in manga, but it's rather difficult to draw; the only things we can play with are tones of black and white.
As a teenager in Brooklyn Quentin had often imagined himself engaged in martial heroics, but after this he knew, as a cold immutable fact, that he would do anything necessary, sacrificing whatever or whomever he had to, to avoid risking exposure to physical violence. Shame never came into it. He embraced his new identity as a coward. He would run in the other direction. He would lie down and cry and put his arms over his head or play dead. It didn't matter what he had to do, he would do it and be glad.
Until the sixteenth century, men-priests, academics, judges, merchants, princes, and many others-wore skirts, or robes. For men, the skirt was a 'sign of leisure and a symbol of dignity, ' writes Quentin Bell. This is still true for men in high positions. After all, can you imagine the Pope, or Professor Dumbledore, wearing trousers? Have you ever seen a depiction of God wearing pants?
Raney flipped the book over and looked at the jacket cover, realized it was one of the books Bo had left at her house the first summer he'd been in Quentin-one of the few he hadn't read. "It's a novel, Grandpa. ENDER'S GAME by a man named Card. Orson Card, " and she continued reading through the first page until he interrupted her again. "I just got out of the hospital-I don't want to hear a story about people having operations." "Well, what DO you want? LITTLE HOUSE ON THE PRAIRIE? "At least I'd learn something useful.
My family knew I was gay when I was 15, long before I got famous. But it's a very different thing coming out to your family and coming out to the universe. That's a big step. Maybe without me, there wouldn't be Adam Lambert. Without Bowie, there wouldn't be me. Without Quentin Crisp, there wouldn't have been Bowie. So everything is part of a big daisy chain.
I've been fortunate to work with good directors who understand improvisation and understand the way comedians work. Luke Basan let me do my thing like do what you feel and take the character to another level. Quentin Tarrantino was more of an acting coach. He can teach you beats and then hell say go with it but give this feeling. So I've been fortunate to work with good, seasoned directors.
Start telling the stories that only you can tell, because there'll always be better writers than you and there'll always be smarter writers than you. There will always be people who are much better at doing this or doing that - but you are the only you. Tarantino - you can criticize everything that Quentin does - but nobody writes Tarantino stuff like Tarantino. He is the best Tarantino writer there is, and that was actually the thing that people responded to - they're going 'this is an individual writing with his own point of view'. There are better writers than me out there, there are smarter writers, there are people who can plot better - there are all those kinds of things, but there's nobody who can write a Neil Gaiman story like I can.
I think these are such different films that it's hard to compare, because with Quentin we were all just like, it was like a party every day, you know, it was like that film was just like silly, it was just really for fun, it was really, it wasn't, you know, to make a huge impact. I t was just we wanted to have fun and go to work every day and do a fun movie. And this is like huge, I mean, this is like huge studio film, there's a ton of action, it's like really hard work.
Mary Elizabeth Winstead
Quentin had grown up with that; the mere names were interchangeable and almost myriad. His childhood was full of them; his very body was an empty hall echoing with sonorous defeated names; he was not a being, an entity, he was a commonwealth. He was a barracks filled with stubborn back-looking ghosts still recovering, even forty-three years afterward, from the fever which had cured the disease, waking from the fever without even knowing that it had been the fever itself which they had fought against and not the sickness, looking with stubborn recalcitrance backward beyond the fever and into the disease with actual regret, weak from the fever yet free of the disease and not even aware that the freedom was that of impotence.
Imagine a pantomime directed by Quentin Tarantino, where villains are booed, heroes are blood-stained, the body-count is high, the entertainment pulsating, the language filthy and the audience screamed behind you'' as tackles hurtled in like boulders crashing down a mountain-side. Such was the epic drama that gripped the Emirates yesterday. A derby crammed with sound, fury and significance ended with everyone grasping for breath, with Arsenal regaining the high ground of the Premier League... This was the Premier League at its raw, mistake-filled, mesmerising best. Utterly compelling.
In a way, what Tarantino has done with the French New Wave and with David Lynch is what Pat Boone did with rhythm and blues: He's found (ingeniously) a way to take what is ragged and distinctive and menacing about their work and homogenize it, churn it until it's smooth and cool and hygienic enough for mass consumption. Reservoir Dogs, for example, with its comically banal lunch chatter, creepily otiose code names, and intrusive soundtrack of campy pop from decades past, is a Lynch movie made commercial, i.e., fast, linear, and with what was idiosyncratically surreal now made fashionably (i.e., "hiply") surreal [... ] D. Lynch is an exponentially better filmmaker than Q. Tarantino. For, unlike Tarantino, D. Lynch knows that an act of violence in an American film has, through repetition and desensitization, lost the ability to refer to anything but itself. A better way to put what I just tried to say: Quentin Tarantino is interested in watching somebody's ear getting cut off; David Lynch is interested in the ear.
David Foster Wallace